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Nameless Country gathers poems by the Scottish-Jewish poet Arthur 'A.C.' Jacobs, whose work, somewhat critically neglected in the past, has gained new resonance for twenty-first-century readers. Writing in the shadow of the Holocaust, Jacobs in his poems confronts his complex cultural identity as a Jew in Scotland, as a Scot in England, and as a diaspora Jew in Israel, Italy, Spain and the UK. A self-made migrant, Jacobs was a wanderer through other lands and lived in search, as he puts it, of the 'right language', which 'exists somewhere / Like a country'. His poems are attuned to linguistic and geographic otherness and to the lingering sense of exile that often persists in a diaspora. In his quiet and philosophical verse we recognise an individual's struggle for identity in a world shaped by migration, division and dislocation.
Edgar Award Winner: This lively account of the director’s battles with the Code Office is “an essential addition to any Hitchcock shelf” (Mystery Scene Magazine). From 1934 to 1968, the Motion Picture Production Code Office controlled the content and final cut on all films made and distributed in the United States. Code officials protected sensitive ears from standard four-letter words, as well as a few five-letter words like tramp and six-letter words like cripes. They also scrubbed “excessively lustful” kissing from the screen and ensured that no criminal went unpunished. Thus, throughout his career, Alfred Hitchcock had to deal with a wide variety of censors attuned to the slightest suggestion of sexual innuendo, undue violence, toilet humor, religious disrespect, and all forms of indecency, real or imagined. During their review of Hitchcock’s films, the censors demanded an average of 22.5 changes, ranging from the mundane to the mind-boggling, on each of his American films. Code reviewers dictated the ending of Rebecca, absolved Cary Grant of guilt in Suspicion, edited Cole Porter’s lyrics in Stage Fright, decided which shades should be drawn in Rear Window, and shortened the shower scene in Psycho. In Hitchcock and the Censors, John Billheimer traces the forces that led to the Production Code and describes Hitchcock’s interactions with code officials on a film-by-film basis as he fought to protect his creations, bargaining with code reviewers and sidestepping censorship to produce a lifetime of memorable films. Despite the often-arbitrary decisions of the code board, Hitchcock still managed to push the boundaries of sex and violence permitted in films by charming—and occasionally tricking—the censors and by swapping off bits of dialogue, plot points, and individual shots (some of which had been deliberately inserted as trading chips) to protect cherished scenes and images. By examining Hitchcock’s priorities in dealing with the censors, this work highlights the director’s theories of suspense as well as his magician-like touch when negotiating with code officials.
Until recently, the land its people know only as the Unnamed Country has remained hidden from the eyes and minds of the rest of the world by dense jungles and formidable mountains. And within those jungles and mountains lurk mysterious and terrifying creatures: jade-green tigers, frighteningly intelligent wild pigs, and shadow people that may just be the precursor to human beings. Caught between their ancient history and the uncertainties of the future, the people who dwell there are ruled over by Ten Jeweled Gods…and the Ten Demon Lords of Hell. Acclaim for Jeffrey Thomas’s Unnamed Country stories: “This is a modern classic of writing about another country or culture on the level of Lafcadio Hearn or Italo Calvino. It belongs on the shelf of any, and every, bookstore in any airport with a flight to Southeast Asia. Its stories are disturbing, insightful, macabre, vivid, grotesque, propulsive, engaging and endlessly inventive.” —Paul StJohn Mackintosh, greydogtales, on The Unnamed Country. “Jeffrey Thomas’s unique flair for the unspeakable never shines brighter than when he visits the Southeast Asia of his dreams, and nowhere does he delve deeper into that strange green country than here.” —Cody Goodfellow, author of Vertical, on Scenes From a Village. “If you know something about Jeffrey Thomas’s fiction, you’ll know that when he’s not writing Weird SF stories set in the infamous and crime-ridden Punktown he sometimes explores “the unnamed country.” This country resembles the Viet Nam that Thomas has frequently visited, but…Viet Nam as seen through a lens slightly distorted by, or perhaps slightly sharpened by, imagination.” —Brian Evenson, from his introduction to The Spirit of Place.
“[This] new collection of Jerzy Kosinski’s interviews and speeches reveals an Everyman who worked on his own terms . . . A most welcome body of texts that elucidates a rather mysterious persona.” —Tablet Oral Pleasure: Kosinski as Storyteller is a collection of interviews, lectures, and transcriptions of media appearances from the legendary literary figure, Jerzy Kosinski. Compiled by his late widow, Kiki, most of the pieces here are published for the first time. These texts bring sharper focus to the themes in his works, making this strikingly erratic individual more accessible. They provide an uncensored portrait of the writer plagued by scandal, whose authenticity was challenged by fierce accusations of plagiarism regarding his seminal novel, The Painted Bird—suspicion that shadowed his career. Oral Pleasure reveals Kosinski as a truly genuine, gifted man of letters. The material covers different aspects of Kosinski’s eventful life, from his thoughts on Poland and the Holocaust to his experiences with acting and television. He expounds on the difficulties of writing under a totalitarian government and the importance of freedom of speech. He discusses the fine line between fiction and autobiography, the prominent role sex played in his writing and life, the philosophical importance of violence in his novels, and his controversial statements on Jewish identity. This collection offers new insight into Kosinski’s renowned work, portraying a brilliant storyteller behind the public figure. “Containing more than 60 documents from Kosinski’s career, the book flows like a conversation . . . thanks to the strength of Kosinski’s voice, [it is] coherent and recognizably whole. . . . Even without prior knowledge of his work, Kosinski rewards those willing to engage with his stories.” —Publishers Weekly
Wolverine Vs. The Punisher by Carl Potts,Dan Abnett,Andy Lanning,Christopher Golden,Tom Sniegoski,Garth Ennis,Frank Tieri,Peter Milligan,C.B. Cebulski Pdf
Punisher War Journal (1988) #6-7, Wolverine/Punisher: Damaging Evidence #1-3, Punisher War Zone (1992) 19, Wolverine/Punisher: Revelation 1-4, Punisher (2001) 16-17, Wolverine (1988) 186, Wolverine/Punisher (2004) #1-5, Astonishing Tales: Wolverine/Punisher #1-6
